{"id":21930,"date":"2024-03-03T01:09:41","date_gmt":"2024-03-03T00:09:41","guid":{"rendered":"https:\/\/londoncult.co.uk\/?p=21930"},"modified":"2024-07-20T13:16:37","modified_gmt":"2024-07-20T12:16:37","slug":"nye-the-art-and-excitement-on-the-national-theatre-stage","status":"publish","type":"post","link":"https:\/\/londoncult.co.uk\/en\/nye-the-art-and-excitement-on-the-national-theatre-stage\/","title":{"rendered":"Nye: The Art and Excitement on the National Theatre Stage"},"content":{"rendered":"<p><iframe title=\"Nye | Official Trailer | National Theatre\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/VEWGqDqgt6Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p class=\"s3\"><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">As<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> the lights in the hall<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> dim<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">, preconceived scenarios dissipate; visual imagery captivates the mind, preventing it from wandering. The <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">stage<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">, which looked dull and flat under the lights, suddenly change<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">s<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">, unveiling its full depth, as mesmerizing as the perspective in the early Renaissance paintings, reflected in the eyes of the spectators of that time. Th<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">e<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> effect <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">of<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> switching<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> between<\/span><\/span> <span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">the voluminous<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> and <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">the <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">flat, <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">the <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">profane and <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">the <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">majestic, <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">the <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">realistic and <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">the <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">fantastical is exploited by the director Rufus Norris throughout the play, but never grows monotonous<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">,<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> thanks to <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">the<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">expressive acting, <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">the <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">witty original text, and the meticulous scenography.<\/span><\/span><\/p>\n<p class=\"s3\"><span class=\"s5\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">Nye<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">\u201d <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">is <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">a rare <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">kind<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> of a production <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">where <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">the plot recedes, allowing the universal art of storytelling, the movements, <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">and <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">the language itself to <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">sparkle<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">. To such an extent that the semantic load or moral message (everything must have meaning!) becomes unnecessary, vanishes by the miracle of transformation. There<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> is<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> an element of childlike wonder<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> in it<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">, as if a magician has suddenly entered a room full of adults.<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> By the way,<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> the main character, played by Michael Sheen, perform<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">s<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> the whole show in a single pair<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> of<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> pajama<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">s,<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> portraying either a dreamer detached from the world, an eternal child, or perhaps the very magician, a master of disguise<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">.<\/span><\/span><\/p>\n<p class=\"s3\"><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">By the end of the first act, it becomes apparent that the actors and everyone involved, both creatively and technically, have joined the show for the sheer joy of it, showcasing their best skills purely for enjoyment. This enjoyment is far from selfish, as the audience also reaps its benefits. To contribute to the overall mischief, the objects renounce their original functions<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">:<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">on stage, hospital beds transform into doors, tables roll around, and curtains align to mimic parliamentary tribunes.<\/span><\/span><\/p>\n<p class=\"s3\"><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">The number of stage props is reduced to a minimum, so every detail resonates within the <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">musical <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">system of the performance. One of the brightest (literally and figuratively) examples is the episode <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">where <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">post-war <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">P<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">rime <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">M<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">inister Clement Attlee <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">(<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">Stephanie Jacob<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">) <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">offers Bevan the position of Minister of Health and Housing, pulling out a red briefcase from <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">his<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> desk. This briefcase is truly symbolic, really red, blazing (I even suspect that the <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">stage designers<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">intentionally <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">spared<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">\u201d <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">the red for this moment), shouting about responsibility, potential opportunities, and the impending challenges that await the future owner in the progression of his career.<\/span><\/span><\/p>\n<p class=\"s3\"><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">Rufus Norris draws<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> us <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">into a realm of enchantment and restless imagination while also creating a cosmopolitan<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">, <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">prejudice-free theatre<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">,<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">where there is <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">room<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> for buffoonery, flirting with the audience, Broadway-style musical scenes, modern video projections, and classical theatre.<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">\u00a0<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">Compositionally, these elements <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">appear<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">cohesive, as if bound by talent<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> and<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> refined by a shared creative approach to the subject matter. Numerous episodes of the show are embellished with<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">\u00a0<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">original solutions, sometimes deliberate and ostentatious, but always valuable to the viewer<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">s<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">, who have witnessed a multitude of them will never regard the evening <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">they<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> overcame <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">their<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\"> anxiety to attend the performance about the <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">National Health Service<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">\u201d <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">and the <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">British Welfare<\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">\u201d <\/span><\/span><span class=\"s4\" style=\"letter-spacing: 0em;\"><span class=\"bumpedFont15\">as a wasted one.<\/span><\/span><\/p>\n<p><a href=\"https:\/\/www.nationaltheatre.org.uk\/productions\/nye\/\" rel=\"nofollow noopener\" target=\"_blank\"><em>Tickets\u00a0<\/em><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the context of modern drama, it\u2019s quite natural to feel a bit anxious about attending a theatre performance. This is particularly true when the play recreates the life of the Welsh modern hero Aneurin (yes, Nye is short for Aneurin, not New Year\u2019s Eve) Bevan, a liberal politician, a proponent of socialist views and an idealist. Those who are fearless should peruse the synopsis, which contains phrases such as \u201cNational Health Service\u201d and \u201cBritish Welfare\u201d. However, the mention of a \u201cSurreal Journey\u201d in the same synopsis intrigues, and the names of the director, playwright, and actors on the poster exude a vibrant allure.<\/p>\n","protected":false},"author":107,"featured_media":21931,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[86,95],"tags":[],"type_post":[],"column":[],"class_list":["post-21930","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","category-news"],"_links":{"self":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/21930","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/users\/107"}],"replies":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/comments?post=21930"}],"version-history":[{"count":0,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/21930\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media\/21931"}],"wp:attachment":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media?parent=21930"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/categories?post=21930"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/tags?post=21930"},{"taxonomy":"type_post","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/type_post?post=21930"},{"taxonomy":"column","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/column?post=21930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}